Assignment : No.

2, Analysis of a Jazz Solo

Transcription

Name : Mark Baynes

Student ID : 300112625

Paper : NZSM 471, Jazz Research

Lecturer : Phil Broadhurst

Due Date : 30th April 2009

1
Analysis of a Jazz Solo Transcription

Introduction

The assigned material for this topic is a Clifford Brown transcription of his
trumpet solo during the performance of the standard entitled “I’ll
Remember April”, originally recorded in 1956. The solo was transcribed by
David Baker and presented to us in Bb pitch, matching the transposition of
the instrument it was performed on. I shall be analysing the solo at concert
pitch however so that the notes sound correct if played on a keyboard
instrument or other non-transposing sound source.

Before analysis can begin it is important to correct errors from the original
transcription. The following pages contain the complete excerpt (entitled
A) with all the significant notational and rhythmical errors highlighted.
These errors have then been corrected in excerpt B, and it is excerpt B that
I shall then refer to when discussing my musical analysis.

The analysis itself shall be split into two sections. The first section shall deal
with improvisational devices used on this 98 bar solo, it shall be a “bar by
bar” account if you like of Clifford Browns improvisational methodology. It
will include a table of musical devices as an appendix to the section.

The second section will discuss the solo on much broader terms, drawing
the attention to the phrasing, dynamics, tone, density, style and overall
direction of the solo played by one of the most acclaimed and influential
trumpet players of the era.

2
 I'll Remember April Solo, Clifford Brown
Concert Pitch analysis
EXCEPT A (areas of incorrect transcription highlighted)

Gmaj7
#c œ œ œ œ œ œ œ œ3 œ
& œœœ œ œ œ bœ œ œ œ Œ
œ bœ nœ œ
1

j Gm7 ‰ j
wrong rhythm & no grace note

#
& Œ Ó Œ ‰ bœ œ . œ œ œ
4 bœ œ J œ ˙

# Œ ‰ j
pitch not determinable

œ #œ œ œ bœ œ Œ
& b œ n œ œ œ œ œ œ œ œ bœ œ
7
Should be Eb

Bm7( ! 5)
pitch not determinable

Am7 D7
# Ó œ bœ Œ n œ œ3 b œ œ œ
& œ Ó
10
bœ nœ œ œ nœ #œ

# E7 Am7 D7
nœ œ bœ œ #œ nœ
& œ œ #œ nœ œ œ bœ œ œ
13 œ œ œ bœ nœ œ nœ #œ
Cm7œ
# Gmaj7 œ œ œ œ œ nœ œ bœ œ
Should be Bb

œ œ œ œ œ œ œ œ œ œ
& œ #œ œ œ œ
3

16

F7 B !maj7G7 B !maj7
# œ œ œ œ bœ
& œ œ nœ œ bœ œ œ œ
œ œ œ bœ œ œ bœ nœ œ nœ œ
3

19

3
april/exa/2

Cm7 F7 B !maj7
# Œ Ó
22
& œ œ bœ nœ œ œ œ œ bœ bœ œ œ nœ œ bœ œ œ bœ
Am7 D7
Note not played

# Ó nœ œ bœ ‰ Œ
‰ Jœ ‰ b Jœ œ
& bœ nœ œ œ œ œ œ œ J
F #m7
25

Gmaj7
should be C n
# ‰ œ #œ œ œ œ œ bœ
& œ ‰ jœ œ œ œ œ œ œ bœ Œ
28
œ
Should be D#

B7 Emaj7 Am7 D7
Should be G#!

# œ œ3 œ œ
& œ œ œ œ bœ œ œ œ œ œ œ ‰ œj œ œ œ œ Œ
31

# Gmaj7 œ œ œ œ œ œ œ
& Œ œ œ œ œ œ œ œ œ œ Œ Ó
34

˙ Gm7
˙ œ œ bœ
# Ó œ œ bœ œ œ œ œ œ
&
37

Am7
#
& œ œ œ œ œ bœ œ bœ œ œ œ
œ
40 œ bœ œ œ œ œ œ bœ œ
D7 Bm7( ! 5) E7
#
& Ó Ó œ œ #œ œ
43
œ œ œ œ œ œ œ

Am7 D7 Gmaj7
# œ b œ n œ œœ œ #œ œ Œ Ó
œ œ œ œ œ œ œ œ œ œ œ
3

&
46
4
 april/exa/3

# Ó #œ œ œ ˙ #œ œ œ œ #œ œ œ œ œ œ œ œ
&
49

Gm7 œ œ œ
# œ œ œ œ œ œ œ œ bœ
should be C#

œ œ
& œ œ œ œ œ œ œ bœ œ
52

# œ œ œ œ œ œ bœ œ j
& J J œ œ œ œ œ œ œj œ œ
55 bœ
Am7 D7 Bm7( ! 5)
#
& Œ Ó Œ Œ œ
bœ nœ œ œ œ
3

58 œ bœ œ œ œ œ

E7 Am7
œ D7
# n œ œ
Should be G#

œ œ bœ œ
INACCURATE RHYTHM!

œ œ œ œ œ
3

& ˙ œ œ œ œ œ œ œ
3

61
bœ nœ œ
Gmaj7 Should be E
Cm7
Should be Bn Should be Bn

# n œ œ3 b œ œ œ # œ n œ œ n œ œ
& œ bœ bœ nœ nœ bœ œ œ œ bœ œ œ bœ œ œ
64

F7 B !maj7 G7
#
& nœ œ bœ œ œ œ œ œ n œ œ b œ n œ œ œ nœ bœ œ œ œ
67 œ bœ œ œ œ
Cm7 F7 B !maj7
#
& nœ bœ œ #œ œ bœ œ bœ œ b œ bœ œ nœ nœ bœ œ œ
70 œ œ œ bœ nœ œ
Should be Gn
Am7
Should be F#

# Ó n œ œ b œ D7 œ b œ
& ‰ œ bœ œ bœ œ œ œ œ œ œ bœ bœ bœ nœ œ nœ
3

73
5
april/exa/4

Gmaj7 F #m7 œ b œ3 œ n œ # œ
# œ œ œ œ œ Œ
& ∑ Ó
76
Should be a triplet figure

B7 Emaj7 D7 Am7
# ‰ œ #œ œ bœ nœ œ
œ #œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ bœ bœ
3

&
79

Gmaj7
# œ ‰ n œj œ œ Œ Ó #œ œ œ œ
& œ Ó
82
œ œ bœ nœ
Gm7
# œ bœ œ œ bœ bœ œ œ œ
3

& œ œœ œœ œœ œ œ
85 bœ œ œ œ bœ œ œ
Am7
Should be Eb

#
œ bœ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ
3 3 3 3

&
88 bœ œ œ

D7 Bm7( ! 5) E7
# œ œ œ nœ bœ
bœ nœ œ œ #œ Œ
& Ó bœ b œ n œ
91
œ œ nœ œ
Note is not played

# Am7
œ
D7
bœ bœ j œ Œ
Gmaj7
& J œ n œj œ Œ J œ Œ
œ œ œ œ œ œ
94

# j ‰ Ó
Should be just 2 notes

& œ œ œ œ œ œ œ œ œ œ œ
97

6
 I'll Remember April Solo, Clifford Brown
Concert Pitch analysis
EXCEPT B (corrected transcription with analysis)

.
Chorus 1
Gmaj7
. .
#c œ œ œ œ. œ œ3
Major Scale
Chromatic Enclosure

œ œ œ œ œ œ bœ œ œ œ Œ
& œ. œ. œ. . œ bœ nœ œ
1
Arpeggio
Gm7
Harold Land Quote

# j
Ch. En.
G Harmonic Minor but with the of n6

Œ Ó Ó bœ . œ œ œ Œ
'Blue' Note anticipation of Gm7

& j
˙
bœ œ
œ
4

Diatonic Enclosure Di. En. Di. En.

# Œ ‰ j n6 œ #œ œ œ bœ œ
& b œ n œ ¿ œ œ œ œ œ œ bœ œ bœ
7
Ascending Pattern

Bm7( ! 5)
Di. En. Chromatic Approach

Am7 D7 >¿
# Ó n>œ œ b œ œ œ
Arp. Phrygian Dominant Bebop

œ Œ Ó
& bœ nœ œ œ nœ #œ œ
3

10
Ch. Ap. Ch. Ap.
Ant #11

# E7 Am7 Chromatic Scale D7

Vocab Ch. Sc.
Chromatic to b9 Di. En.
nœ œ bœ œ #œ nœ
& œ œ #œ nœ œ œ bœ œ œ
13 œ œ œ bœ nœ œ nœ #œ
Ch. En.

Cm7œ
Harold Land Quote

# Gmaj7 œ œ œ œ œ nœ œ bœ bœ
#11

œ œ œ œ
Major Scale

& œ œ 3
œ œ œ #œ œ œ œ œ œ
16
Ch. En. Descending Minor Pattern

B !maj7 B !maj7
# F7œ œ œ œ b œ G7
Arp.
#11 Di. En.

& œ œ nœ œ bœ œ œ œ
Ch. En.

œ œ œ bœ œ œ bœ nœ œ nœ œ
3

19

Harold Land Quote Major Scale

7
april/exb/2

Cm7 F7 B !maj7
A upper structure?

#
& œ œ nœ œ bœ œ Œ Ó
22 œ œ bœ nœ œ œ œ œ #œ œ œ bœ
Wrong Note Bebop Vocab

Am7 D7
Similar Shape to Bar 21

# Ó > > nœ œ bœ ‰ Œ
Ch. to b9

‰ Jœ ‰ b Jœ œ
& bœ nœ ‰ œ œ œ œ œ J
F #m7
25

Gmaj7
Ch. Ap. Di. En.

# ‰ œ #œ œ œ œ nœ bœ
Ch. Ap.

œ ‰ jœ œ œ œ œ œ œ bœ Œ
Ch. En. Ch. En.

& œ
28
Half / Whole Scale like passage

B7 Emaj7 Am7 D7
# œ œ3 œ œ
Diminshed Scale Ch. Ap. Ch. Ap.

& œ œ œ œ #œ œ œ œ œ # œ œ ‰ # œj œ œ œ œ Œ
31
Di. En.

# Gmaj7 œ œ
Di. En.

œ œ œ
G Major Scale

œ œ
& Œ œ œ œ œ œ œ œ œ œ Œ Ó
34
Di. En.

˙ ˙ Gm7
# Ó œ œ bœ
Common tone 9th
Di. En.

œ œ bœ œ œ œ œ œ
Ch. Sc.

&
37

Am7
Di. En.

#
& œ œ œ œ bœ œ bœ
Melodic Cesh

œ œ œk œk œk
40 œ bœ œ œ œ œ œ bœ œ Ch. Ap.

# D7 Bm7( ! 5) E7
Di. En.

& Ó Ó œ œ #œ œ
43
œk œk œk œk œ œ œ
GBNF Lick
Crotchet Repeated Notes Lydian
Am7 D7 Gmaj7
. .
HW Diminished Scale

# œ b œ n œ œœ œ #œ œ Œ Ó
œ œ œ œ œ œ œ œ œ œ œ
3

&
46
Repeated Notes 8
 april/exb/3

# Ó - . - œ.
œ - . - œ. - . œ- œ.
œ
#œ œ œ ˙ #œ œ #œ œ œ œ
Lydian Chorus 2 Lydian Pattern

&
49

- . - .
# #œ œ œ œ œ œ nœ œ bœ Gm7
œ œ œ œ
œ œ œ œ œ œ œ bœ œ œ
Ch. Sc.

&
52
Di. En.

# œ œ œ œ œ œ bœ œ j
4 Note Rhythmically Displaced sequence

& J J œ œ œ œ œ œ œj œ œ
55 bœ
Am7 D7 Bm7( ! 5)
#
& Œ Ó Œ Œ œ
bœ nœ œ œ œ
3

58 œ bœ œ œ œ œ
HW Dim. Scale

E7 Am7 D7
# nœ œ œ œ œ bœ œ
Arp.

œ œ œ
Ch. Sc.

˙ œ œ œ œ
3

& œ #œ bœ nœ
j œ œ œ œ
61

Gmaj7
Ch. Ap.

# nœ œ bœ œ œ #œ nœ œ nœ œ Cm7
œ œ bœ œ œ bœ œ œ
Ch. En.

œ bœ bœ nœ nœ œ œ
#11 Di. En. Ch. En.

&
3

64
Ch. Sc. Major Scale

F7 B !maj7 G7
# Ch. En. 5th Mode of C HM

& nœ œ bœ œ œ œ œ œ n œ œ b œ n œ œ œ nœ bœ œ œ œ
67 œ bœ œ œ œ
B !maj7
Bebop Vocab Di. En.
Cm7 F7 b9 Arp.
#
Implied C Aeolian

nœ bœ œ #œ œ bœ œ bœ
Ch. En.

& b œ bœ œ nœ nœ bœ œ œ
70 œ œ œ œ bœ nœ œ
Ch. Ap. Ch. Sc.
Arp.
Am7
# Ó n œ œ b œ D7 œ b œ
Altered Scale

‰ œ bœ œ bœ œ œ
Ch. Sc.

& œ œ œ œ œ bœ bœ œ œ nœ
3

73
D7 Arp. Anticipated Ch. Sc. Ant. G major
9
april/exb/4

F #m7 œ bœ œ nœ #œ
# Gmaj7 œ œ Œ
Ch. Sc.

œ
3

& œ œ ∑ Ó
76

B7 Emaj7 D7 Ch. En. Am7

# ‰ œ #œ œ #œ nœ œ
Ch. Sc.

œ #œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ bœ bœ
3 Di. En. 3

&
79
HW Dim. Scale Di. En.

Gmaj7
# œ ‰ n œj œ œ Œ Ó #œ œ œ œ
#11 Di. En.

œ Ó
Lyd.

& œ œ bœ nœ
82

Gm7
Sequence Based on Ascending Sixths and Chromatic Passing Tones

# œ bœ œ œ bœ bœ œ œ œ
Ch. Sc. 3

& œ œœ œœ œœ œ œ
85 b œ œ œ œ bœ œ œ
Di. En. 5 Note Repeated Pattern
Am7
#
...Simplified Locrian Mode

œ bœ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ bœ œ œ bœ œ
3 3 3 3

&
88 b œ œœ
b Implies m7 5

D7 Bm7( ! 5) E7
# œ œ œ nœ bœ
Ch. En.

bœ nœ œ œ #œ Œ
& Ó #œ #œ œ
91
œ œ nœ œ
Dim. Sc. Ch. Ap. Ch. Sc. from #11

Am7 D7 Gmaj7
# œ bœ bœ ‰ œ Œ
& J ÿœ n œj œk Œ
Di. En.

Œ
94
J ÿ k œ œ œ œ œ œ
Aeolian Mode Pattern ... Repeated Over Tritone Sub

# j
& œ œ œ œ œ œ œ œ œ œ ‰ Ó
97
Major Scale

10
Section 1

This Clifford Brown solo begins with an arpeggiated staccato pick up

measure. At bar 2 a phrase is played that is one of the most interesting
features of the whole solo. It is a one bar figure that contains a triplet in
beat 2, it is mainly diatonic in nature and ends with a chromatic enclosure
of the root. This phrase is repeated 3 times during the 1st chorus. I have
named it the ‘Harold Land’ quote as it can also be heard twice during
Harold Land’s solo in “Take the A Train” found on Clifford Brown and Max
Roach’s “Study in Brown” Album (Emarcy Records 1955)(See Appendix A).
This can be used to exemplify the use of vocab swapping evident in jazz
and the inherent “organic” nature of the art form.

Harold Land Quote

Bar 4 marks the beginning of a 6 bar phrase mainly based around G

harmonic minor. As the harmony doesn’t change until bar 5 it can be
argued that the Bb ‘blue’ note found at bar 4 is an anticipation of the Gm
harmony found at bar 6. However, at bar 7 there is an E natural that
doesn’t belong to the harmonic minor scale. This clever use of the 6th not
only implies an alternative harmony (G melodic minor), but is also used as
part of a diatonic enclosure AND at the beginning of an ascending
pattern!

Use of natural 6 as part of enclosure, pattern and as alternative harmony

11
Bars 10 and 11 see various improvisational devices including chromatic
approaches, another diatonic enclosure and an arpeggio. This vocab is
typical of the Bebop language and there are a plethora of examples in
Browns solo. A descending Phrygian Dominant bebop scale occurs during
bars 13-14, this scale is derived from the 5th mode of A harmonic minor and
contains the major 7th bebop passing tone. Bars 14 and 15 contain much
chromatic movement, ending in a b9 reference (another piece of bebop
vocab) and at bar 16 we hear the ‘Harold Land’ quote again, proceeded
by an anticipated Lydian diatonic enclosure.

Example of Phrygian Dominant Bebop descending line

At bar 18 a pattern is played based on descending minor thirds, this

pattern includes the #11 based over a minor 7 chord, a very interesting
sound. This Lydian approach is continued to the next bar with the use of
melodic minor based Lydian Dominant harmony heard over the F7.
Another ‘Harold Land’ quote is found at bar 20, and at 21 an ascending
scale / descending arpeggio is played. This shape is copied in the
following bar but intelligently adapted for to fit over Cm7.

These bars have a similar ‘shape’

Bar 23 is very interesting as it contains a ‘poor choice’ as an E natural can

be heard over the F7 chord. This major 7th over a dominant helps to spell
an A major upper structure but this isn’t a common upper structure.
Instead of the E, Brown might have meant an Eb spelling an F7 chord or
even an F, helping to spell a Lydian Augmented sound. An implied (not

12
exact) bebop lick is played at the end of the bar. Bar 25 marks the
beginning of further chromatic and enclosure based improvisation, this
time however it is broken up by some larger intervals such as the major 6th
at bar 26 and the octave at 27. A Lydian figure at 28 resumes more scale
like and chromatic melodic activity and at bar 31 we can find the use of
the half/ whole diminished scale. Bars 32-36 are entirely diatonic ending
with a G major scale.

Clifford Brown’s poor choice, although it is hardly noticeable at this tempo

The 2nd half of bar 37 contains an A semibreve tied across the barline. This
is a clever use of the 9th of both G major and G minor. It is also the longest
note of the solo, this semibreve acts as a brief rest from a mainly 8th note
based performance. A melodic CESH (Contrapuntal Elaboration of Static
Harmony) is found at bar 40 in between diatonic scale activity and this is
followed by a legato crotchet 2 note phrase that lasts until bar 44. A
quote from “Gone but not Forgotten” can be heard at bar 45 followed by
another pair of repeated notes but played in quavers this time at bar 46.
Use of the Half / Whole diminished scale is evident at bar 47; this is then
followed by a Lydian based motif that is developed into a repeated
pattern that lasts for 3 bars. This repeated pattern contains 4 notes and is
concluded by chromatic movement and a scale passage leading the
listener into Gm harmony.

Lydian based repeated pattern

13
The next 4 note sequence can be heard at bar 54, this time the sequence
is rhythmically displaced and syncopated as it descends from bar 54 to 58.
At bar 60 following another HW diminished passage a long note (again
tied across the bar) is played to lead the listener towards the densest part
of the solo. This starts during the 2nd half of bar 61 with a phrase entirely
comprising of eighth notes and triplets, it contains no longer notes or rests
at all!

A 4 note rhythmically displaced descending pattern

During this passage improvisational devices used include change running

figures and arpeggios, 5 occurrences of enclosure (diatonic and
chromatic), bebop lick vocab, chromatic approaches and scales, b9
licks, phrygian dominant harmony and Aeolian mode scale usage. A brief
rest is offered at bar 73 before a smaller eighth note phrase is played. At
bar 74 an anticipated D7 arpeggio is spelt followed by a descending
triplet chromatic scale leading the listener into the only altered scale
based bar of the entire solo at bar 75. Another use of anticipation can be
found during the last beat of 75 implying G major.

D altered scale followed by an anticipation of G major

A sign that the solo is reaching its completion can be found by the 7 beat
rest found at bars 76-79, this is followed by a largely descending 6 bar
passage. At the end of this phrase is a sequence based on ascending 6ths
and chromatic passing tones. Another use of Lydian harmony at bar 84
begins a descending line that links to a 5 note repeated pattern that is
played over bars 87-89. This pattern is then intelligently adapted by one

14
semitone to fit over half diminished harmony by lowering the E to and Eb,
creating a locrian harmony.

The E natural is lowered spelling ‘A Locrian’ mode

A III-VI ascending scale loosely based on a Lydian dominant scale (but

also using extra chromaticism) leads the listener into a syncopated Aeolian
mode based phrase at bar 94. This phrase becomes a pattern when
repeated at bar 95 almost copied down a semitone. This utilises a device
called tritone substitution where the Ab7 harmony is implied over a D7
chord (a tritone away). The final phrase is simply an ascending and
descending G major scale.

15
Appendix to section 1 – Improvisational Devices

Improvisational Devices and number of occurrences during Clifford Brown’s solo

Chromatic Enclosure 13
Implied Blues Scale 1 phrase
Harold Land Quote 3
Diatonic Enclosure 17
Chromatic Approach 11
Ascending Pattern 1
Descending Pattern 1
Repeated Pattern 2
Phrygian Dominant / Harmonic Minor 3
Chromatic Scale 13
Lydian Enclosure 4
b9 vocab 3
Lydian Scale 4
Bebop Lick Vocab 2
CESH 1
HW Diminished Scale 4
Altered Scale 1
Anticipation 3
Ascending Sequence 1
Descending Sequence 1
Tritone Substitution 1
GBNF Lick 1
Wrong Note (but not really noticeable due to tempo) 1
Repeated Notes 2
Aeolian Mode 2
Locrian Mode 1

16
Section 2

This is a true bebop solo so due to many factors not limited to the vocab
referred to in section 1 of this analysis. The tempo is fast at 240BPM and yet
Clifford Brown chooses to fill up the bars with mainly 8th note passages.
There isn’t a lot of space in this solo, nor is there a huge amount of
dynamic variety. Higher notes tend to be louder especially when they are
at the end or beginning of a phrase such as at bar 78 and Brown utilises an
even legato phrasing throughout with the exception of a few bars where
he chooses to play staccato notes for effect. Examples of this can be
found at bar 1 (pickup measure) and bar 48.

It seems to me that this 2-chorus solo has a structure to it, a beginning

middle and end you like. The 1st chorus leaps right in with large horizontal
bebop passages, there is some space, after all the solo has just begun but
it really is a harmonic demonstration of the bebop language. At bar 37
there is a change however, the longer note found there suggests a more
relaxed pace and this further exemplified by the use of crotchets and
repeated notes found at bar 42-43 and 46. These 2 note motifs are not
alone. The repeated pattern found at bar 50 and then the sequence at
54 are examples of motif-based improvisation, but this time being slightly
longer at 4 notes each. Bar 61 marks the beginning of the densest section
of the solo with the longest 8th note phrase covering 12 bars. The solo
maintains is drive after this, but presents the listener with longer rests
between the 8th note phrases relieving some of the intensity.

Interestingly enough, during the last 24 bars Brown combines the theme of
each of the sections by mixing the use of Bebop vocab found in the 1st
chorus with smaller sequences and patterns found at bars 82-83 and 88-89.

17
Conclusion

Clifford Brown is a masterful improviser. He clearly demonstrates his ability

not only to weave long passages of horizontal lines through changes with
absolute ease and flawless technique, but to also link musical ideas
together with style and musicality. Upon listening to this solo for the first
time the general sense is that the performance is relaxed, yet to play this
solo at tempo would take hours of practise. Brown clearly demonstrates
that even using a bop vehicle and tempo it is still possible to communicate
to the listener a musicality with a distinct beginning, middle and end.
Browns use of motific playing during the middle of the solo is the ‘calm
before the storm’ and serves as a musical ‘firewall’ between denser
torrents of notes found before and especially after. Brown cleverly
surmises the solo during the final bars by combining motific and 8th note
ideas, again, flawlessly woven together.

It is also interesting to note that many devices used were only used once
(see appendix to section 1) There was only one ascending sequence, only
one descending sequence, one GBNF, tritone substitution, altered scale,
CESH, descending and ascending scale, there was even just one wrong
note! On the other hand, standard bop vocab such as enclosure,
chromatic approaches and bebop scales were applied to changes very
liberally indeed.

It is not surprising to discover that the dominant harmony seems to be

mainly diminished based using nearly no altered harmony, this obviously
dates the recording, any player who played like this now would only be
serving to pay homage to the past and would perhaps be firmly seated in
the Marsalis camp!

So this is an excellent example of a jazz style often looked upon for

inspiration by jazz students hoping to absorb the past so they can help
progress the art of jazz towards the future.

18
Appendix A

TAKE THE “A” TRAIN

HAROLD LAND & CLIFFORD BROWN SOLOS
FROM STUDY IN BROWN
Harold Land Quote
å=280 HAROLD LAND SOLO (SOUNDS 8vb) C
œ b 3œ œ œ œ b œ œ # œ œ œ n œ œ3 œ œ œ
&c Œ œ
œœœ œœ œ œœœ œœœœœ œ
1
Similar Quote
D9 Dm7 G7
œ #œ œ œ œ bœ
&
œ œ Ó
#œ Ó Œ œ œ œ ‰ œj œ œ œ # œ œ œ œ
5

C A7 Dm7 G7 C
œ # œ œ n œ œ œ # œ œ œ b œ œ # œ œ œ œ œ œ œ œ œ3 œ œ œ
& œ œ œ . œJ œ œ
9
Harold Land Quote
D9 Dm7 G7
‰ ¿ b¿ œ
bœ . œ Ó #œ œ œ œ
& œ #œ Œ Ó Ó J Ó
13

C C7 F
3
bœ œbœ œ œ œ bœ œ
& œ œ bœ œ œ Ó Œ ‰ œ œ œ œ œ œ œ#œ œ œ œ œ
17
œ
Similar Quote
D9
œ bœ œ œ œ bœ œ œ œ
& Ó Œ bœ œ œ œ œ bœ œ œ œ œ #œ œ œ bœ œ #œ œ nœ
21

Dm7 G7 C
œ œ œ œ œ œ œ œ
& œ œ b œ ‰ # œj œ n œ œ œ œ œ # œ œ œ Œ œ œ œ œ
25
œ
D9 Dm7 G7
œ #œ œ #œ Œ #œ œ œ œ œ
& ∑ Œ œ œ œ œ œ œ œ œ œ bœ
29
TRANSCRIBED BY BERT LIGON
19
 TAKE THE “A” TRAIN, p. 2

C CLIFFORD BROWN SOLO:

œ bœ œ œ œ #œ œ bœ œ œ ∑ ∑
& œ œ bœ œ
33

D9 Dm7 G7
œ œ œ
& Œ œ œ #œ œ Œ Ó #œ œ œ ‰ j . j œ œ œ œ œ bœ #œ
37
œ #œ nœ #œ
C C
œ œ œ œ œ œ œ œ bœ œ
& œ œ Œ Ó ∑ œ
41

D9 Dm7 G7

& œ # œ œ # œ ‰ œj Ó Œ œ œ œ œ Œ ‰ # œj œJ ‰ n œ ‰ œj
45 œ #œ œ œ œ œ J
C C7 F
3
œ b œ œ œ œ œ œ œ œ œ œ bœ œ œ bœ œ bœ
& œ œ œ œ œ œ#œ œ œ œ
49 œ œœ œ œ
D9
3
& œ œ Œ Œ Ó Œ ‰ j œ œ œ #œ œ œ œ œ œ #œ œ bœ nœ œ œ
53
œ #œ
Dm7 G7 C
Œ ‰ j œ œœœ
& œ œ bœ œ œ œ œ # œ œ œ œ œ œ
57
#œ œ œ œ #œ œ nœ #œ œ nœ œ œ
D9 Dm7 G7
œ œ. ˙ œ bœ œ œ
œ œ œ #œ #œ œ Œ ∑ Ó J
&
61

C C
œ œ œ œ
œ
œ œ #œ œ nœ Œ Ó Œ œ #œ œ #œ œ œ bœ
& œ TRANSCRIBED BY BERT LIGON
bœ œ œ œ
65 20
 TAKE THE “A” TRAIN, p. 3

D9 Dm7 G7
b œ œ œ œ œ Œ œ œ #œ œ œ œ
& #œ #œ œ œ œ œ œ œœ œœ
69
#œ œ œ œ #œ
C A7 Dm7 G7 C
œ j œ œ ‰ # œj
& Œ œ œ œ #œ œ œ œ œ #œ œ œ nœ Œ œ ‰ j œ ‰
73 œ œœ œ #œ œ œ
D9 Dm7 G7

& œ #œ Œ Œ œ #œ œ œ #œ œ œ œ Ó
œ œ œ œ œ œ œ œ œ bœ œ
#œ
77

C C7 F
3
œ œ œ # œ œ œ œ œ
& œ œ #œ nœ œ œ œ œ œ bœ œ #œ œ nœ œ œ œ œ œ bœ œ #œ nœ œ
81 œ
3
D9
3 3
œ b œ œ b œ œ œ œ œ œ œ œ œ #œ œ bœ œ œ œ
& œœ œ œ œ #œ œ œ œ œ œ œ #œ œ #œ œ œ#œ
85

Dm7 G7 C

& ˙ Ó ‰ b œ # œj œ n œ œ œ #œ œ œ nœ œ
89
œ œ œ œ œ
D9 Dm7
œ œ œ bœ bœ œ œ Œ Ó ∑
& #œ œ œ #œ œ œ
93

C3
œœœœœœœ
& #œ œ œ bœ œ œ Œ Ó
97
œ œ #œ œ œ

TRANSCRIBED BY BERT LIGON

21